I never got the chance to meet Ronnie James Dio, but I was still very struck by his passing earlier this week. To some extent, my heart has reached out to the family of anyone who succumbed to cancer after my mom passed from a brain tumor in 1997. Personally, I cannot claim to be the biggest Dio fan - I think I might have a few singles in my collection but that is about it. What struck me most these past few days was, in retrospect, his sense of self. In interview after interview he seemed so in tune (no pun) with the realities of his life and career. How he was aware of his importance in the world of Metal, but never really got too caught up in it. He had this mighty voice and incredible stage presence and seemed pretty down to Earth, generally.
Now, who knows. Maybe that was all a facade, but as I thought about his passing, I started to think about how so many musicians of more aggressive musical styles get dumped into these categorizations that portray them as bad people. Evil. It just seems like too easy of a target to me.
Sure, there are plenty of examples of "Metal Gods" doing very bad things; but that seems more to be a potential trapping of the industry than a result of musical genre. Want proof? Go check out some of John Denver's moments off stage. Nothing against John either, but, seriously, blaming music for anything seems like taking the easy way out and not really meeting the issue head-on.
There are far too many examples to name, proving just how ridiculous the the entire thing is. I have been lucky enough to have spent a small bit of time with Alice Cooper - the Godfather of shock rock - and I can tell you he's about as well grounded as anyone. He, much as I suspect Dio was, is just a really good guy.
And for those who would claim that aggressive music creates more opportunities for Sex, Drugs, and Rock 'n' Roll abuses than other occupations, simply has not been paying attention to the news. Nothing against The Church specifically, but, uh, there's a real concern. Sorry, but a musical genre just is not going to be worse than that.
Yes, there are bad people, who deserve the negative reputation they get; but they wouldbe bad people if they were accountants too. Don't make music the scape goat. I have yet to see a musical playback devise of any kind that did not include an "off" button of some kind. If you don't like it, turn it off. if you don't wan your kids to hear it, turn it off. But that's it. That's all you get.
Look, I'm hardly the biggest Metal fan. I pretty much don't get into too much of the real hardcore stuff - I need more melody. That does not mean it's bad. Actually, I can really appreciate the energy - it's just not my thing. But if it makes you feel good to listen, who am I to tell you not too because of some stupid story that the guys in the band once made a pact with the devil, rooted in a promise to only eat butter and never margarine (stupid butter1) Come on! People who buy into that crap also likely fall for every marketing trick in the book and buy tons of stuff they don't need but see in ads on TV. They likely also thought John Lennon was blasphemous when he pointed out the obvious that the Beatles had become more popular with the youth of the day than Jesus (he did not say that was a good thing, by the way, he was more commenting on the industry's control of culture). At the very least they have a serious cholesterol problem from all the margarine they are consuming to avoid their own devil-butter pact.
So God bless Ronnie James Dio. Rest in peace. You brought a lot of joy to a lot of people. The rest of us should be so lucky to be able to make such a claim.
...you know all this talk of classic Metal reminds me that Iron Maiden is coming to town soon. I wonder if I can score some tickets...
Tuesday, May 18, 2010
Friday, May 7, 2010
Pure Musical Joy: Why Nils Lofgren is one of the greatest musicans around and I am not
Thursday was an amazing day. Nils (http://www.nilslofgren.com) came by and spent several hours playing and talking to CMAS. It was beyond incredible. Aside from his obvious talent, he is also one of the most grounded, kind, and generous people I have ever met.
I found myself way too star struck with him. You'd think being so close to "Uncle George" as Gray calls him that I would act like less of a boob around someone like Nils; but no, I was kinda "Captain Wonderputz." I hope he doesn't think me too dim after all is said and done. I don't even wanna think about it.
Ok, now past all that, there were several things that really struck me in the time he was with CMAS. The most significant was his humility. Not just the obvious and almost cliche kind of thing that you'd expect from someone who has "made it" and done so much - in truth, he's probably best known for playing in the E Street Band with Springsteen; but even if you take that all away, his resume is staggering - but more about how he kept emphasizing his love of the song as his driving motivation.
With Nils you get the real sense that he loves playing with Bruce and all the work he's also done with Neil Young and so many others; and he's clearly grateful and appreciative for all he's been able to do in music; but he talks of smaller gigs in small clubs with the same kind of affection. He has a kind of musical Joy about him that I don't see very often. It reminded me of Robert Billups (see an earlier blog about that true genius). Even in the CMAS main hall, which is pretty cool for a school facility but not really a big deal in the pantheon of places Nils has played, he was just clearly in love with the music.
And I don't mean in an arrogant sort of way 'cuz it was his songs. I mean he just loves music. You can see it, palpably, in his face. The Joy of it seems to take on his entire body and informs all the energy about him - he literally radiates it. I learned more from Nils in those few hours yesterday than I could possible recount here, but his joyous playing and sense of self within the musical lines was just indescribable.
Full disclosure, I feel I did him a disservice in the sound I provided him - not that he complained. I'm hoping passing along George's contact info to him, as well as the mixes I'll create of his performances for the show that was being taped, will at least make up a bit for that and all the rest of my gaffs.
Ok, time to go and find some of my own musical joy. So this is Captain Wonderputz, signing off...for now...
I found myself way too star struck with him. You'd think being so close to "Uncle George" as Gray calls him that I would act like less of a boob around someone like Nils; but no, I was kinda "Captain Wonderputz." I hope he doesn't think me too dim after all is said and done. I don't even wanna think about it.
Ok, now past all that, there were several things that really struck me in the time he was with CMAS. The most significant was his humility. Not just the obvious and almost cliche kind of thing that you'd expect from someone who has "made it" and done so much - in truth, he's probably best known for playing in the E Street Band with Springsteen; but even if you take that all away, his resume is staggering - but more about how he kept emphasizing his love of the song as his driving motivation.
With Nils you get the real sense that he loves playing with Bruce and all the work he's also done with Neil Young and so many others; and he's clearly grateful and appreciative for all he's been able to do in music; but he talks of smaller gigs in small clubs with the same kind of affection. He has a kind of musical Joy about him that I don't see very often. It reminded me of Robert Billups (see an earlier blog about that true genius). Even in the CMAS main hall, which is pretty cool for a school facility but not really a big deal in the pantheon of places Nils has played, he was just clearly in love with the music.
And I don't mean in an arrogant sort of way 'cuz it was his songs. I mean he just loves music. You can see it, palpably, in his face. The Joy of it seems to take on his entire body and informs all the energy about him - he literally radiates it. I learned more from Nils in those few hours yesterday than I could possible recount here, but his joyous playing and sense of self within the musical lines was just indescribable.
Full disclosure, I feel I did him a disservice in the sound I provided him - not that he complained. I'm hoping passing along George's contact info to him, as well as the mixes I'll create of his performances for the show that was being taped, will at least make up a bit for that and all the rest of my gaffs.
Ok, time to go and find some of my own musical joy. So this is Captain Wonderputz, signing off...for now...
Monday, May 3, 2010
Back inside the sound: why I sometimes almost miss my old teaching gig and why "traditional" ensembles matter
This past week I was asked once again to be a clinician for the Arizona Band and Orchestra folks. In short, it was beyond terrific; and to work, even if just briefly, with these amazing young orchestras, was great fun for me.
With all the studio work and training I do; and the songwriting, etc, etc. that makes up the CMAS program, I sometimes forget how much I still love being "inside" that kind of sound. It is a very different world, and in some ways I miss it. Not enough to go back, but...that sound...no matter what else I ever do, I still love it. Frankly, it's been creeping back into my own music in some ways lately, so maybe it's a kind of musical synergy coming to fruition. Who knows. Anyway...
Lately when I am lucky enough to be a part of these kind of things, inevitably the conversation comes around to CMAS. Many times I cannot tell for certain at first if I am being investigated or envied. The truth is liekly somewhere in between.
While it's my job to promote the paradigm shift that CMAS represents to music education, people usually seem so surprised to learn that I have a very real and strong affinity for traditional ensembles. It just seems odd to me. Music is about something more than the specifics of the ensemble. More than a tale of who is playing what instrument. It's about getting inside yourself and life and the world and God and whatever else you wanna connect it to. The organic, pure nature of music is not limited to any specific parameters. I find it odd that this strikes so many as a "new" concept. Many will feign agreement only to privately scorn the music CMAS now fosters in people who would otherwise have no interest in its exploration.
It seems very simple to me and was really reinforced for me while at this recent festival with all these grand orchestras: either all music is viable or none of it is. Sure, you cannot do it all, and everyone will have their strengths and weaknesses in execution; but at it's heart music - of all genres - reaches beyond.
Does it really matter which path you take to get there? Traditional ensembles are hugely important. Truly. But, in the end, it's music that is the important entity. Get it however you can and encourage others to do the same, no? Band, Choir, Orchestra, Jazz, Rock, Country, Rap - that's all just superfluous details. Music is what matters. All music. Sometime I really wonder if CMAS is really that big of a change. I swear, fundamentally, I am only able to approach music one way - I know of no other - regardless of the specific ensembles or genres.
I may not be a "traditionalist" but I am certainly a "purist." And I am very, very lucky to have a life that is 100% family and music. It's just that simple. Really.
With all the studio work and training I do; and the songwriting, etc, etc. that makes up the CMAS program, I sometimes forget how much I still love being "inside" that kind of sound. It is a very different world, and in some ways I miss it. Not enough to go back, but...that sound...no matter what else I ever do, I still love it. Frankly, it's been creeping back into my own music in some ways lately, so maybe it's a kind of musical synergy coming to fruition. Who knows. Anyway...
Lately when I am lucky enough to be a part of these kind of things, inevitably the conversation comes around to CMAS. Many times I cannot tell for certain at first if I am being investigated or envied. The truth is liekly somewhere in between.
While it's my job to promote the paradigm shift that CMAS represents to music education, people usually seem so surprised to learn that I have a very real and strong affinity for traditional ensembles. It just seems odd to me. Music is about something more than the specifics of the ensemble. More than a tale of who is playing what instrument. It's about getting inside yourself and life and the world and God and whatever else you wanna connect it to. The organic, pure nature of music is not limited to any specific parameters. I find it odd that this strikes so many as a "new" concept. Many will feign agreement only to privately scorn the music CMAS now fosters in people who would otherwise have no interest in its exploration.
It seems very simple to me and was really reinforced for me while at this recent festival with all these grand orchestras: either all music is viable or none of it is. Sure, you cannot do it all, and everyone will have their strengths and weaknesses in execution; but at it's heart music - of all genres - reaches beyond.
Does it really matter which path you take to get there? Traditional ensembles are hugely important. Truly. But, in the end, it's music that is the important entity. Get it however you can and encourage others to do the same, no? Band, Choir, Orchestra, Jazz, Rock, Country, Rap - that's all just superfluous details. Music is what matters. All music. Sometime I really wonder if CMAS is really that big of a change. I swear, fundamentally, I am only able to approach music one way - I know of no other - regardless of the specific ensembles or genres.
I may not be a "traditionalist" but I am certainly a "purist." And I am very, very lucky to have a life that is 100% family and music. It's just that simple. Really.
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